Category Archives: Photography

Movember memories

Movember is drawing to a close, and thousands of men in New Zealand and around the world are sporting moustaches for a good cause.  In New Zealand, the funds raised are being used for research, advocacy and survivor support around men’s cancer and mental health.  Here’s a small selection of moustachioed men, drawn from our photograph collection to inspire you in Movember’s final days … and remember, these moustaches are the culmination of years of effort!

F. W. Harrington, circa 1860, Dublin. Chancellor and Son. Purchased 1916. Te Papa

F. W. Harrington, circa 1860, Dublin. Cabinet photograph by Chancellor and Son. Purchased 1916. Te Papa

Moustache cup with saucer, 1902, England. John Aynsley & Sons. Te Papa

Moustache cup with saucer, 1902, England. John Aynsley & Sons. Te Papa

Campbell 12 PS, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Campbell 12 PS, circa 1908, Wellington. Gelatin dry plate negative by Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

India Series:, 1960 s, India. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

India series: soldier, 1960s, India. Colour transparency by Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Lt. Col. A.W. Grant, Army medical service, 43rd L.T. New Zealand 1863 - 1866, circa 1860. Maker unknown. Purchased 1916. Te Papa

Lt. Col. A.W. Grant, Army medical service, 43rd L.T. New Zealand 1863 – 1866, circa 1860. Cabinet photograph, maker unknown. Purchased 1916. Te Papa

Self portrait, 1930 s, Wellington. Lee-Johnson, Eric. Purchased 1997 with New Zealand Lottery Grants Board funds. Te Papa

Self portrait, 1930s, Wellington. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. Te Papa

See more moustaches from our collection

 

Random royal pictures

In honour of Charles and Camilla’s visit.

Royal Visit - Butter, 19.06.1901, Wellington. Maker unknown. Te Papa

Royal Visit – Butter, 19.06.1901, Wellington. Maker unknown. Te Papa

Queen’s visit, December 1953-January 1954 .. 16.01.1954. Leslie Adkin. Te Papa

Queen’s visit, December 1953-January 1954 .. 16.01.1954. Leslie Adkin. Te Papa

Fiji, Royal Tour:, 1953, Fiji. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa.

Fiji, Royal Tour:, 1953, Fiji. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa.

Fiji, Royal Tour:, 1953, Fiji. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa.

Fiji, Royal Tour:, 1953, Fiji. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa.

Prince Charles’ Visit I, Lower Hutt, 1981, 1981, Lower Hutt. Peter Black. Gift of the artist, 1983. Te Papa.

Prince Charles’ Visit I, Lower Hutt, 1981, 1981, Lower Hutt. Peter Black. Gift of the artist, 1983. Te Papa.

Prince Charles’ visit II, Lower Hutt, 1981, 1981, Lower Hutt. Peter Black. Purchased 1983 with New Zealand Lottery Board funds. Te Papa.

Prince Charles’ visit II, Lower Hutt, 1981, 1981, Lower Hutt. Peter Black. Purchased 1983 with New Zealand Lottery Board funds. Te Papa.

Climb every mountain

Brian Brake grew up in Arthur’s Pass and retained a love of New Zealand’s mountains all his life.  He took hundreds of photographs of South Island peaks, lakes and rivers.   If you’re an alpine enthusiast, a keen tramper, or you know the South Island well, please take a look and let us know if you can name any of these mountains, rivers and lakes …

[mountain from the air], 1960 - 1985, New Zealand. Brake, Brian. Gift of Wai Man Lau, 2010. Te Papa

1. Which mountain? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Wai Man Lau, 2010. Te Papa

New Zealand Scenery: Unidentified Locality, 1960 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

2. A mirror lake. Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

New Zealand Farming and Horticulture: Sheep Muster, 1960 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

3. Sheep muster where? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Coastal Township, 1960 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

4. Coastal township, possibly Kaikoura? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Southern Alps, 1970 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

5. Southern Alps perhaps? But which mountain? Nice flares … Colour transparency, 1970s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Southern Alps, 1960 s - 1980 s, Southern Alps. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

6. Mountain and river valley, Southern Alps? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Westland, 1960 s - 1980 s, West Coast. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

7. Which river in Westland? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

From the Our Space engine room……

Scrolling through the thousands of images you have sent us over the past few years there are certain favourites that continue to delight not just the moderators but the majority of visitors too.

You will probably know them already – we see the perennials constantly returning to the ‘most viewed’ images on the Wall. Possibly the most viewed photo is this one…

Giant bubble, Queen's Wharf, Wellington 19 May 2005. Photograph and copyright: Philip Capper

Giant bubble, Queen’s Wharf, Wellington 19 May 2005. Photograph and copyright: Philip Capper

…a slightly out-of-focus Giant Bubble created out on Wellington’s waterfront. Just look at those fantastic colours floating in the air.

There in one single moment in time is all of our childhood wonder and delight at such a marvellous thing…a beautiful bubble which will burst any moment and leave us slightly sad but smiling that we saw it. It’s hardly a surprise then that a man can turn bubbles into a career and bring joy to thousands of kids-of- all-ages. Great big bubbles, bubbles within bubbles, multi-story bubbles, magical bubbles.

The thing about visiting the Museum is to try and remember the sheer delight of your first visits as a child. We see it every day as children cannot contain the joy of discovery, squealing as they try and take it all in. Then as they grow and return to that wonderfully silly moment when they recognise an old friend like the waterball at the front door. Cool! Following on are favourites that capture the Wahoo moments of our lives…that moment of Freedom, no shackles just busting out and having fun like…these guys.

FMX. Photograph and copyright: Pieter ten Broek

FMX. Photograph and copyright: Pieter ten Broek

Turoa. Photograph and copyright: Pieter ten Broek

Turoa. Photograph and copyright: Pieter ten Broek

“When I grow up I want to be a kid”. Hold that thought and you’ll have just the ‘Bestest’ adventures right throughout your life.

by RG, OurSpace moderator and host

I’m just behind you…

Eric Lee-Johnson was rather good at the ‘rear view’. 

Untitled, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Untitled, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Untitled, circa 1935, London. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. Te Papa.

Untitled, circa 1935, London. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. Te Papa.

Infant, Waimamaku, 04.1956, Waimamaku. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Infant, Waimamaku, 04.1956, Waimamaku. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Working with topdressing fertiliser, Northland, 1950 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Working with topdressing fertiliser, Northland, 1950 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Untitled [London], circa 1937, London. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Untitled [London], circa 1937, London. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

 

Circus in North Island countryside surroundings, 1960 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Joanna Johnson and dog on country road, England, circa 1937, England. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Joanna Johnson and dog on country road, England, circa 1937, England. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Crowd at Opononi wharf, 1956, Opononi. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Crowd at Opononi wharf, 1956, Opononi. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Terry Bond at work on his Mahurangi farm, 1944 - 1946, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Terry Bond at work on his Mahurangi farm, 1944 – 1946, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Childrens party at the beach, Northland, 1950 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Childrens party at the beach, Northland, 1950 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

[men looking at car engine], circa 1956, New Zealand. Eric Lee-Johnson. © Te Papa.

[men looking at car engine], circa 1956, New Zealand. Eric Lee-Johnson. © Te Papa.

 

Unloading of crates, Wellington waterfront, circa 1940, Wellington. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Unloading of crates, Wellington waterfront, circa 1940, Wellington. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

‘Vacant lot of cabbages’ documentation enters Te Papa’s archives

In 1978 contemporary New Zealand artist Barry Thomas undertook a public art project in inner city Wellington. Utilising a vacant lot on the corner of Willis and Manners Streets, the artist and his friends cut through a wire perimeter fence, delivered a truckload of top soil to the site and planted 180 cabbages.

Barry Thomas, 'Vacant lot of cabbages' documentation, 1978. Purchased 2012, Te Papa. Photo: courtesy of Barry Thomas.

Barry Thomas, ‘Vacant lot of cabbages’ documentation, 1978. Purchased 2012, Te Papa. Photo: courtesy of Barry Thomas.

The project Vacant lot of cabbages (also known as ‘The cabbage patch’) immediately caught the public attention and received extensive media coverage. Barry was interviewed in local newspaper The Evening Post where he challenged Wellingtonians to occupy the vacant lot and claim the site as their own. The lot was quickly filled with all sorts of objects—which the city council promptly cleared away—except for the cabbages. For several months the vacant-lot-turned-urban-garden became the site of informal gatherings, events and a one-week arts festival called ‘The Last Roxy Show’.

Vacant lot of cabbages featured in Jim and Mary Barr’s exhibition When art hits the headlines: a survey of controversial art in New Zealand at the National Art Gallery’s Shed 11 venue in 1987. The project is also discussed in Christina Barton’s history of temporary art in Wellington published in Wellington: a city for sculpture (Wellington: VUP and Wellington Sculpture Trust, 2007).

Journalist Chris Trotter has described Vacant lot of cabbages as ‘a conceptual artistic statement against the life-negating conservatism of the Muldoon years [which] quite literally grew into a life-affirming (and edible) challenge to Wellington’s bureaucratic soul’ (Dominion Post, 20 August 2010, full article here).

Barry Thomas, 'Vacant lot of cabbages' documentation, 1978. Purchased 2012, Te Papa. Photo: courtesy of Barry Thomas.

Barry Thomas, ‘Vacant lot of cabbages’ documentation, 1978. Purchased 2012, Te Papa. Photo: courtesy of Barry Thomas.

Te Papa has recently acquired Thomas’s archive of the Vacant lot of cabbages project for its collection as it documents an important moment in New Zealand’s art and social history. It is especially timely to consider the project in light of recent art initiatives (e.g. Letting Space in Wellington and Gap Filler in Christchurch)—not to mention wider social phenomena such as the Occupy movement, urban farming and guerrilla gardening.

Sarah Farrar
Curator of Contemporary Art

p.s. Wellingtonians take note – this Saturday 3-5pm at City Gallery there will be a discussion about recent temporary art  including Letting Space, Gap Filler and the Performance Arcade.

Te Vaiaho o te Gagana Tokelau: Tokelau Language Week

This week is the inaugural Tokelau Language Week (29 October – 4 November). The theme is Ke mau ki pale o Tokelau: Hold fast to the treasures of Tokelau. To celebrate, the Pacific Cultures team will post a blog each day highlighting cultural treasures from Tokelau in Te Papa’s collections. Today, in this first blog post we offer a short environmental profile of Tokelau and finish with one of Tokelau’s creation stories.

Tokelau- low-lying atolls
Tokelau is comprises of villages on three main low-lying atolls – Atafu, Fakaofo and Nukunonu.A low coral atoll is formed from a coral reef that has grown on top of a submerged volcano. The actual land rises only a few metres above sea level. This land consists of sand and coral that has built up on the surface of the reef. The three main islands of Tokelau all sit on extinct volcanic peaks.

Agate, Alfred T 1812-1846. Agate, Alfred T 1812-1846 :Cocoanut grove at Fakaafo or Bowditch I. / painted by A.T.Agate; engr. by J Smillie. Philadelphia, [s.n.], 1849.. Ref: A-282-007. Alexander Turnbull Library, Wellington, New Zealand. http://beta.natlib.govt.nz/records/22754561

Food and water on Tokelau
Low coral atolls like Tokelau have no surface fresh water. The people had to dig wells to a lens-shaped natural reservoir of fresh water trapped beneath the sand. This precious resource is replenished by rain. For food, Tokelauans in earlier times depended on the native pandanus and coconut trees, as well as introduced plants such as swamp taro (which they grew in ponds dug down to the freshwater level) and breadfruit. Marine resources and activities like fishing were also vital. Tokelau people have developed a unique system of sharing out food among all members of the community. This is called inati.

Toki (hafted adze)

Toolmaking on Tokelau
The only ‘rock’ in Tokelau is coral, so the people used shell and bone for tools. Occasionally they obtained stone tools from other islands, like Samoa. This adze’s handle is modern, but its blade is of a type used by generations of people on low coral atolls. For many Pacific toolmakers, clam shells made a good alternative to stone.

Toki (shell adze blade)

Nukunonu, Tokelau 1981. From the series: Polynesia Here and There (photographer Glenn Jowitt)

How the Tokelau Islands were created
Three brothers lived in Tonga. Their names were Mauimua, Mauiloto, and Mauimuli. They were out fishing one day when Mauimua’s hook caught on the roots of a coconut tree at the bottom of the sea. When he tried to free his hook, he pulled up an island. All three brothers were amazed, and called this island Fakaofo – ‘surprise’.

Later, Mauilotu’s hook caught on the roots of a nonu tree. He pulled up another island, and the brothers named it Nukunonu.

Finally, Mauimulu’s hook caught on the roots of a kanava tree. The island he pulled up was full of kanava trees. The brothers called it Atafu.

Na tupu vehea te atu fenua ko Tokelau

Na iei te kau uho e toka tolu na ola ake i Tonga. Ko o latou igoa ko Mauimua, Mauiloto ma Mauimuli. Na fai to latou faiva i te tahi aho oi lave ai te kafilo a Mauimua ki ni aka e o he niu nai te takele o te tai. Kae taumafai ia ke fakato tana kafilo, na ia fufutia ake ki luga he fenua. Na ofo lele te kau uho, oi fakaigoa ai e ki latou te fenua ko Fakaofo.

Fai fai lava to latou faiva kae lave te kafilo a Mauiloto ki na aka o he nonu. Fufuti ake ki luga tana kafilo ko he tahi fenua, ma na fakaigoa e ki latou ko Nukunonu.

Mulimuli ake, kae lave te kafilo a Mauimuli ki na aka o he kanava. Ko te fenua na ia fufuti akea ki luga e tumu ina kanava. Na fakaigoa ai e ki latou ko Atafu.

Tokelau-the facts

Total land area: 12 square kilometres
Highest point: 5 metres above sea level
Annual rainfall: 1600 millimetres
Population in the year 2011: 1205
Around 6819 Tokelauans now live in New Zealand. There are small communities in locations such as Samoa, Hawaii and Australia.

A slice of Wellington life: the Berry & Co collection

Wong Lee, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Wong Lee, circa 1920, Wellington. Berry & Co. Gelatin dry plate negative. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Te Papa has a collection of nearly 4,000 glass plate and film negatives taken by the Wellington photography studio Berry & Co.  The studio was founded by William Berry in 1897, and operated in Cuba St until 1931.  The negatives are mainly portraits – of families, children, men and women, soldiers in uniform, the occasional pet – and are a wonderful resource for those interested in our history, or in the history of fashion. 

Find out about our project to identify WWI soldiers in the Berry & Co collection

 1,479 of our Berry negatives had been digitally imaged and put online over the past ten years, leaving us 2,397 more to photograph and upload to the web.  We’re keen to make more of this great historical resource available online, so we have started a mass imaging project, to photograph them in batches of 100 per week.  At this rate, it will take about six months to do them all. 

Joliffe 12, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Photo Michael Hall. Copyright Te Papa. Negatives can be difficult to ‘read’, so creating a positive digital image makes it easier for us to improve our catalogue data, for example by using clothing details to estimate the date the photograph was taken.

From cold storage to the studio

The negatives are all kept in our cold storage vaults, as low temperatures and humidity slow their deterioration.  They have to be brought up to room temperature slowly (acclimatised), otherwise there’s a risk that moisture will condense on the surface of the negatives, and damage or destroy the image.   

 We are using small chilly bins to acclimatise and transport the negatives.  These are handled very carefully, but as additional protection against bumps which could crack the glass, the bins are padded out with foam and pillows. 

One of the transport chilly bins. The negatives are stored in archival paper sleeves, to protect the surface of the image. Photograph Anita Hogan, copyright Te Papa.

The negatives are placed on their edges in  the chilly bin, as this is the way they are designed to travel.  The bin is then left closed for five days, so the plates can slowly acclimatise to room temperature.

 In the studio

Once the plates have acclimatised, we move them to the photography studio and they are photographed on a light box by one of our imaging team.

Photographing a Berry & Co glass plate negative. We use a Phase I P40 camera and Schneider 110 lens, used with extension tube, with a 40MB back. This gives us a 38MB digital image, which is our ‘access master’ size. Photograph Michael Hall, copyright Te Papa.

When the photographs have been taken, the negatives are moved back to the cold storage vault.  As one set of negatives acclimatises another is being photographed, so there are always three sets of chilly bins on the move.

 So far we’ve photographed 500 of the negatives in the project, and they are being uploaded as we go.  Here’s a small selection.  I’ll be putting up more as the project continues, or you can keep an eye out for new additions on Collections Online.

Miss Roma Lee Coupon 1 doz PC, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Miss Roma Lee Coupon 1 doz PC, circa 1920, Wellington. Berry & Co. gelatin dry plate negative. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Cowie 12, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Gregorias 12, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Gregorias 12, circa 1920, Wellington. Berry & Co. Gelatin dry plate negative. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Giving matters – David Carson-Parker (1932-2012)

Te Poho o Rawiri, Kaiti, Gisborne, 29.06.1962, Gisborne. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Te Poho o Rawiri, Kaiti, Gisborne, 29.06.1962, Gisborne. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

One of the most generous ways museums acquire items for their collections is from individuals donating things they have made for the benefit of others. This is one way that unique material becomes available to the public and especially to researchers. It is in this spirit that David Carson-Parker, who died 21 October, donated many decorative art and photographic items to Te Papa. However it is the donation of photographs taken by David himself that makes up the largest share of his legacy to the museum.

During the 1960s David travelled around the North Island of New Zealand taking photographs on 35mm colour slide film of numerous meeting houses. Described by David as a ‘personal project’ – I assume he meant self funded – he used Carved Maori Houses of Western and Northern Areas of New Zealand (1955) by William J. Phillips, as a guide book to identify where to go. Now these images provide a valuable record of how these wharenui (meeting houses) looked prior to restoration.

Whitikaupeka, Moawhango, 05.12.1962, North Island. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Whitikaupeka, Moawhango, 05.12.1962, North Island. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Through his involvement in the New Zealand Potters Association, David also took photographs documenting the visit of British potter Michael Cardew to Wellington in early 1968. Cardew was an important influence on New Zealand potters such as Peter Stichbury. During Cardew’s visit he demonstrated his method of work to local potters and David’s black and white photographs still enable us to see something of the potter at work – physically stretching, kneading and shaping clay.

Untitled [Michael Cardew stretching clay], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Untitled [Michael Cardew stretching clay], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Untitled [Michael Cardew kneading a ball of clay], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Untitled [Michael Cardew kneading a ball of clay], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Untitled [Michael Cardew finishing the base of a bowl], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

Untitled [Michael Cardew finishing the base of a bowl], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.

 

Sometimes David’s donations were quite personal. One of my favourite items David gave to Te Papa is a beautiful spoon made in Dunedin by Frank Hyams and gifted to David’s grandmother, by her husband, on the birth of David’s mother Elizabeth, in 1903.
 Spoon, 1899, Dunedin. Frank Hyams. Gift of David Carson-Parker, 1995. Te Papa

David took on many roles that directly supported the creative sector, including a stint as President of the Friends of Te Papa. On behalf of staff at Te Papa I extend our sympathy and condolences to David’s partner and family.

——

Laughing boy

Woman holding infant boy, circa 1927-28, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Woman holding infant boy, circa 1927-28, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

It is not often I come across early photographs that capture pure joy like this one does. Too young to find the serious appeals of the photographer’s command to “keep still” anything other than funny, this infant boy’s laughter dominates the image and projects a good sense of fun about the activity of having one’s photograph taken.

Due to the blurred movement in the image this negative would have been considered a ‘dud’ by the photographer and perhaps the client too – though it is a nice relaxed shot of the woman. Yet it was retained amongst the Berry & Co. studio’s negatives and not thrown away or scratched (a practice often employed by photographers to stop anyone printing from a negative they were not happy with).

The client’s name was not recorded on the negative – a further sign that this negative was unwanted (yet not thrown away). It is interesting to compare it to what was regarded as the successful image from the session which shows the woman more determinedly holding the boy who nevertheless retains his enjoyment of the photographic session (there are two more images of the boy at the end of this post).

Mrs Storle, circa 1927-28, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

It is perhaps by chance rather than intention that the image of the boy laughing is now regarded as an artefact. An exhibit, for better or worse, of what the historian Eric Hobsbawm (who died earlier this month) might have referred to as ‘people’s history’ – the conveyance of stories and images that explore the lives of the common man, woman and child with emotional resonance. The haphazard survival of this set of negatives is an example of the remarkable way that photography enters and informs history.

Mrs Storle, circa 1927-28, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Mrs Storle, circa 1927-28, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Mrs Storle, circa 1927-28, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Mrs Storle, circa 1927-28, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

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